“It’s all perhaps closer to opera than to oratorio, and this premiere, with the OAE’s finely detailed playing shaped by Nicholas McGegan, was economically and unfussily staged by Peter Thomson.” — Read more at The Guardian.
“Tenor Michael Schade for his part seemed in essence completely at ease during the first part (of Mahler 8), (and yet) he invested more and more per measure as the symphony progressed amounting to a simply overwhelming performance.” Translated from the French — Read more at ludwig van Montreal.
“…a triumph of stamina and execution…the orchestra as a whole played with far more confidence and conviction than you’d expect for a one-off performance of a rare and challenging score. At the end of the night, the crowd’s ovation was robust, appreciative — and well-deserved.” — Read more at The Boston Globe.
“The Judas Passion is part of Philharmonia Baroque’s new initiative that brings Baroque music into the 21st century — or is that vice versa? Launched this month, New Music for Old Instruments pairs today’s composers with yesterday’s instruments, both refreshing the repertoire for historically informed performers and audiences, and providing contemporary composers with a rich […]
“Williams displayed a heroic bass-baritone and brought an imposing presence to his selections. He put across a powerfully dramatic account of Schumann’s “Belsazar,” winnowing down to a strikingly hushed coda. He also lightened his voice and style artfully in two comic, wryly witty excerpts from Heggie’s Songs of the Moon, set to Vachel Lindsay texts.” […]
Nicholas McGegan and Philharmonia Baroque Orchestra & Chorale’s Le Temple de la Gloire has won the “Best Opera Performance” and “Best Dance Performance” categories of San Francisco Classical Voice‘s Best of the Bay 2016 – 2017! Read more at San Francisco Classical Voice
“Particularly impressive was Quigleyʼs command of such a large choral group, showing fingertip control of the dynamics and maintaining a vibrant, passionate quality in the singing through even the gentlest passages…Itʼs rare for a visiting conductor to show the level of technical mastery Quigley achieved in limited rehearsal time. The sound was transparent and expertly […]
“The Boston Modern Orchestra Project offers three works by a composer devoted to complex, high-density, post-tonal writing…Gil Rose, the orchestra’s founding artistic director, both conducts and produces the recordings, which sound consistently superb.” — Read more at The Wall Street Journal.
It’s as reliable as a sunrise: a Nicholas McGegan appearance at the Hollywood Bowl in August. The conductor was at his perennial Bowl gig again Thursday night, and as usual McGegan’s agenda was locked into the 18th century — all Vivaldi this time…a later solo showcase allowed Panthaki to display her full, luxuriously toned upper […]